The anonymous Letters of Junius appeared in the Public Advertiser in London between January 21, 1769 and January 21, 1772. Read and discussed avidly at home and abroad until well into the nineteenth century, they were ascribed to the most distinguished writers of the epoch. Only when all these attributions proved incorrect, and minor authors had to be considered, did interest in them begin to wane. The present study sets out to demonstrate that only an exceptional stylist and scholar could have conducted this influential and farsighted correspondence - that its author commanded all the outstanding gifts, and accomplishments of Johnson himself, and that they both may very well have been one and and the same person.

Why does Mark's Jesus speak in parables? Why does Plato's Socrates make bad arguments? Why are Beckett's novels so inscrutable? And why don't stage magicians even pretend to summon spirits anymore? In a series of captivating chapters on Mark, Plato, Beckett, Mallarm , and Chaucer, Joshua Landy not only answers these questions but explains why they are worth asking in the first place. Witty and approachable, How to Do Things with Fictions challenges the widespread assumption that literary texts must be informative or morally improving in order to be of any real benefit. It reveals that authors are sometimes best thought of not as entertainers or as educators but as personal trainers of the brain, putting their willing readers through exercises designed to fortify specific mental capacities, from form-giving to equanimity, from reason to faith. Delivering plenty of surprises along the way--that moral readings of literature can be positively dangerous; that the parables were deliberately designed to be misunderstood; that Plato knowingly sets his main character up for a fall; that metaphor is powerfully connected to religious faith; that we can sustain our beliefs even when we suspect them to be illusions--How to Do Things with Fictions convincingly shows that our best allies in the struggle for more rigorous thinking, deeper faith, richer experience, and greater peace of mind may well be the imaginative writings sitting on our shelves.

This book explores the various connections between Law and Opera, providing a comprehensive, multinational, and multidisciplinary (with approaches from jurists, philosophers, musicologist, historians) resource on the subject. Further, it makes a valuable contribution to studies on law and the humanities. While, for example, the relationship between law and literature has been extensively researched, the relationship between Law and Opera remains largely overlooked. The book approaches the topic from three perspectives in three main sections: Law in Opera, Law on Opera, and Law around Opera.

This book examines the roles played by narrative and culture in the construction of legal cases and their resolution. It is articulated in two parts. Part I recalls epistemological turns in legal thinking as it moves from theory to practice in order to show how facts are constructed within the legal process. By combining interdisciplinary paradigms and methods, the work analyses the evolution of facts from their expression by the client to their translation within the lawyer-client relationship and the subsequent decision of the judge, focusing on the dynamic activity of narrative construction among the key actors: client, lawyer and judge. Part II expands the scientific framework toward a law-and-culture-oriented perspective, illustrating how legal stories come about in the fabric of the authentic dimensions of everyday life. The book stresses the capacity of laypeople, who in this activity are equated with clients, to shape the law, dealing not just with formal rules, but also with implicit or customary rules, in given contexts. By including the illustration of cases concerning vulnerable clients, it lays the foundations for developing a socio-clinical research programme, whose aims including enabling lay and expert actors to meet for the purposes of improving forms of collective narrations and generating more just legal systems.

Proceedings of the First Conference of the International Society for Hermeneutics and Science

Of all the Cambridge Platonists, Henry More has attracted the most scholar ly interest in recent years, as the nature and significance of his contribution to the history of thought has come to be better understood. This revival of interest is in marked contrast to the neglect of More's writings lamented even by his first biographer, Richard Ward, a regret echoed two centuries after his 1 death. Since then such attention as there has been to More has not always served him well. He has been dismissed as credulous on account of his belief in witchcraft while his reputation as the most mystical of the Cambridge 2 school has undermined his reputation as a philosopher. Much of the interest in More in the present century has tended to focus on one particular aspect of his writing. There has been considerable interest in his poems. And he has come to the attention of philosophers thanks to his having corresponded with Descartes. Latterly, however, interest in More has been rekindled by renewed interest in the intellectual history of the seventeenth century and Renaissance. And More has been studied in the context of seventeenth-cen tury science and the wider context of seventeenth-century philosophy. Since More is a figure who belongs to the Renaissance tradition of unified sapientia he is not easily compartmentalised in the categories of modern disciplines. Inevitably discussion of anyone aspect of his thought involves other aspects.